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Impromptu live show at Worship vintage store in Los Angeles, serving as a rehearsal for an acoustic set that would be part of a TY SEGALL And FREEDOM BAND record release show. Ty along w/ EMMETT KELLY deliver five songs and show no rehearsal was necessary
Responding to the challenge his new songs gave him: a synthtastic production redesign, Ty kicks back with bottom-heavy creativity, dialing up a wealth of guitar and keyboard settings to do the deed.
"Hello, Hi" - Ty Segall - Tossing down straight acoustic shots with electric guitar back, Ty Segall rides through the valley of thee ol' Canyon legends, seeking an isolated place beneath the open sky.
Burying '60s sing-alongs and dance crazes beneath waves of reverb and giddy thud, Ty Segall has carved out his own shelf in the San Francisco neo-psych garage alongside local compatriots and collaborators Sic ALPs and Thee Oh Sees.
By now you should know what you’re in for here: an eardrum-toasting take to tape of the mighty Ty Segall Band, captured during two nights in San Francisco at the barely-pushing-medium-sized venue The Rickshaw Stop.
The conception of Three Bells arcs, rainbow-like, into a land nearly beyond songs - but inside of them, Ty relentlessly pushes the walls further and further in his writing and playing to cast light into the most opaque depths.
Twins just might be the blast that ends it all - or the explosion that launches a brave new evolution? a fury of rock ensues: songs rigged to explode on a dime, fired from a cannon into the stratosphere.
The 1969 follow up to Silver Apple's debut found the duo digging into the far reaches of their songwriting psyches for a darker and more emotionally charged set of songs.
Ships 8/9/24 - Spacemen 3 makes an asset out of the newfound lack of percussion, giving The Perfect Prescription a considerably less rock-oriented sound with much more open space in it's varied, subtle arrangements.
The 4th and final studio album by Spacemen 3, is often considered the introduction of 2 brilliant solo projects (Spiritualized and Spectrum) rather than the work of a functioning band.
Rock critic Lester Bangs (cautionary warning: dead at 33 from an overdose of Darvon and NyQuil) wrote, 'In the beginning there was feedback: the machines speaking on their own, answering their supposed masters with shrieks of misalliance.'
